Boston Symphony Orchestra Concert Programs, Season 66,1946-1947

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SIXTY-SIXTH SEASON, 1946-1947

CONCERT BULLETIN of the

Boston Symphony Orchestra

SERGE KOUSSEVITZKY, Conductor

Richard Burgin, Associate Conductor

with historical and descriptive notes by

John N. Burk

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I 578 ] 5? SYMPHONIANA

LAURELS IN THE WEST

At the beginning of this month the Boston Symphony Orchestra gave ten concerts in cities west of New England. The Orchestra was heard by 35,600 in auditoriums varying in capacity from 2,000 to 6,000, the audiences limited only by their size. Regular Tuesday evening ABC broad- casts were made from two of these ) concerts. The unanimous pleasure and satisfac- tion derived from the concerts on this tour are indicated by the following representative quotations:

PITTSBURGH — December 2 This year's visit of the Boston Sym- phony Orchestra brings us two concerts, the first of which Serge Koussevitzky directed in Syria Mosque last night. It was a "standing room only" audience. . . . To speak of the orchestra is only to repeat platitudinous praise, and yet with each program one is assured again that it stands without equal in the world. Each man may well be a virtuoso but the blending of instrumental voices and their tone colors has been so perfect an accomplishment, that, in the classics especially, one hears new voices with every repetition. — J. Fred Lissfelt Pittsburgh Sun-Telegraph Lace Frame for a

PITTSBURGH December 3 Sundown Silhouette To observe Dr. Serge Koussevitzky conduct the Boston Symphony Orchestra You will always be a is to know the meaning of intense, perfect picture in this vivid and vibrant leadership and to realize its communicative power. late day gown, expres- To listen to this orchestra is to know sive of the eternal femi- what ensemble artistry is and should be. rayon crepe The marvelous blending of this amaz- nine. Black ing conductor's personality with that of silhouetted in Chantilly- (< his musicians produces a result that is lace. 44.00 rousing to the soul and a contribution type to those experiences that make real living worth while. Last night at Syria Mosque this eminent leader and magnificent orchestra played another program to a full house. The audience not only enjoyed the performance — it was thrilled, and it evi- denced its appreciation with sustained applause. — Ralph Lewando Pittsburgh Press &

[579] CLEVELAND — December 4

Always an event of the first magni- tude in Cleveland music circles, the annual concert of the Boston Symphony Orchestra last night at Public Music Hall produced its customary effect on an audience of major proportions. It was an effect of tremendous enthusiasm expressed in persistent recalls to the stage of that veteran dynamo of leadership whose name has become synony- mous with this admirable orchestra, Dr. Serge Koussevitzky. Now in his 72d year, this extraordinary musical personality continues to impress his own indomitable spirit upon this group and permeate it to an un- canny degree. From this body of expert musicians, who seem to anticipate every movement of his lips, to say nothing of what he communicates with his hands, Koussevitzky draws beauty of sound with all the energy and tenacity of a bee extracting pollen from a flower. And if ever there was a magic powder capable of fertilizing the imagination of the listener, it is certainly to be found in the particular brand of star dust employed by this eminent virtuoso of the baton. One was carried away, not only by the zestful conviction and subtle nuance that went into every phrase of the music, but by the sheer beauty of tone which comes from every section of the orchestra. — Herbert Elwell

Cleveland Plain Dealer. .

CHICAGO — December 6 At Orchestra Hall last evening the Boston Symphony Orchestra, conducted by Serge Koussevitzky, gave the first of the two concerts which it is offering here this season. It proved again that as an organization there can Pure Silk be but few orchestras in the world to approach, and none to excel it. For a sheer and lace trimmed The glow and richness of the string gown, white, blue, tearose playing, the individual excellence of Sizes 32-38 members of the wind choir — particularly the first flute, oboe and clarinet $39.50 —the dynamic purity of the brass, even in the most fortissimo passages, are qualities that almost stand alone. There was more interest in the concert than that of the playing, however. Dr. Koussevitzky did not bring his The Trousseau House Boston of matchless orchestra only to demonstrate 416 BDYLSTDN STREET how great and good are things in Boston. WELLESLEY ~ HYANNIS r PALM RivACH — Felix Borowski Chicago Sun [58o] CHICAGO, December 8 It may be that this amazing orchestra plays consistently at the peak of its form, as it must have played yesterday, and it may be that Serge Koussevitzky constantly conducts like a man inspired. But it is not often, to my sorrow, that I am around when such things happen, so that I sit on the edge of my chair and suddenly realize I haven't been breath- ing. When this happens, magicians have been at work, and this time Debussy's magnificently realized "La Mer" cast the spell. Not even mediocrity can ut- terly dim the splendor of this giant seascape, but it can blur and confuse the music, and frustrate the perceptive senses. A good performance is a delight, but a great performance — ah, there you have another story. — Claudia Cassidy Chicago Daily Tribune Co ll^cHovi oT

DETROIT — December 10, 1946 Detroiters who were fortunate enough to get tickets in a standing-room-only house, turned out at Masonic Temple Auditorium to give a thundering welcome to the greatest symphony orchestra in the world. For there is no arguing that among the great musical organizations the Boston Symphony Orchestra stands head and shoulders above all others. From such magnificence of reputa- Hoi,, all 2l^qm/ tion, one should expect magnificent things. Anything less than perfection would be bitterly disappointing. Even with these advance expecta- tions it is to be doubted if the audience was entirely prepared for the sheer, breath-taking beauty and excitement of performance that pervaded the evening. The great masses of strings were tre- mendously impressive in the body of tone they produced, as well as in the unfailing discipline they displayed. Koussevitzky, with economy of ges- ture and utter surety as to the effects he desired, molded the mighty orchestra to his will, so that the music emerged as the production of one genius, expressing the thoughts of the composer. — J. DORSEY CALLAGHAN Detroit Free Press

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[582] SIXTY-SIXTH SEASON • NINETEEN HUNDRED FORTY-SIX AND FORTY-SEVEN

Tenth Program

FRIDAY AFTERNOON, December 20, at 2:30 o'clock

SATURDAY EVENING, December 21, at 8:30 o'clock

RICHARD BURGIN Conducting

Milhaud Symphony No. 2

I. Paisible II. Myst£rieux III. Douloureux IV. Avec ser£nit£ V. Allelouia

(First performance; Conducted by the composer) INTERMISSION

Manuel de Falla Suite from "El Amor Brujo," "Love (November 23, 1876 — November 14, 1946) the Sorcerer" Pantomime — Dance of Terror — The Magic Circle — Ritual Dance of Fire

Falla "Nights in the Gardens of Spain," Symphonic Impressions for Piano

I. At Generalife. and Orchestra II. Distant Dance. III. In the Gardens of the Sierra of Cordova. Piano: Luise Vosgerchian

Falla Three Dances from the Ballet, "El Sombrero de Tres Picos"

This program will end about 4:15 on Friday Afternoon, 10:15 o'clock on Saturday Evening BALDWIN PIANO VICTOR RECORDS

[583] Ic^c/a^i. rvttifat^

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[584] DARIUS MILHAUD

Born in Aix-en-Provence, September 4, 1892

after the provincial instruction in violin and string quartet writ- l\ ing which Darius Milhaud had as a boy at the College of Aix, the quality of the instructors with whom he was placed at the Paris Conservatoire (which he entered in 1909) was nothing less than illustrious and in the best tradition - Leroux in harmony; Gedalge in composition; d'Indy in orchestral conducting; Dukas in orchestration; Berthelier in violin. We are not told of protests and arguments at the Conservatoire, but it is plain enough that the pupil's attitude was not one of unquestion- ing acceptance. If his early violin sonata composed in 1911 shows the influence of Lekeu, if his first songs and piano pieces show lingering mists from the still pervasive Debussy, this was only because the youth- ful Milhaud was feeling his way and not quite ready to cast off his particular heritage of mannerisms outworn. Milhaud has often expressed his esteem for Debussy, but that esteem must be to a degree objective, for he has also written of Debussy as having "drawn French music into an impasse/' And this was certainly the personal reaction of Milhaud as artist. Soon

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[585] Debussyan half-lights as well as Franckian fervors had vanished from his music. It came from his pen clear and actual; strong in light and shade. If it could be gentle and fanciful, it could also be uncompromis- ing and harsh. Where Debussy had veiled dissonance with a glamorous play of color, Milhaud set forth stronger dissonances with brutal abruptness. Where Debussy had withdrawn into a sanctuary of taste and refinement, Milhaud listened gladly to musical commonplaces about him and admitted vulgarisms into his writing. The quartets, which date from 1912, and the chamber pieces composed while he was at the Conservatoire, already show the unabashed development of what was to be looked upon as his most notorious innovation — polytonality. Sometimes several voices in these scores move simultaneously in what would . appear to the untutored ear as drastic tonal disagreement. This first manifestation of polytonality is not harmonic, but an agglomeration of voices in motion — a sort of ultra-independent counterpoint. The "polytonality" of Milhaud has never been an enemy of the tonal system, for even when one tonality is juxtaposed upon another, the predominating tonality endures and survives. Milhaud has never shown the slightest inclination toward the twelve-tonal complex. He is constitutionally unable to build music

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[587] upon an intellectual concept because his music invariably springs from an emotional impulse. The first and the ultimate reality of music as Milhaud conceives it is melodic, a songfulness which is its essential character. It should be said, however, that he is not melodic in the usual sense of the long line; his melodic ideas are generally brief and fragmentary, are often implicated in rhythmic figurations.

Milhaud worked upon his first opera, "La Brebis Egaree," during the whole of his stay at the Conservatoire. The text was by Francis Jammes. "The verse of Francis Jammes," in the words of Milhaud, "led me out of the symbolists' fogs and revealed to me a new world to be captured, merely by opening one's eyes." This world was further enriched by the presence of Paul Claudel, who brought Milhaud "on the threshold of an art alive and sane, ready to submit to the influence of that power which shakes the human heart."* Jammes showed Milhaud Claudel's "Connaissance de VEst" and in the years 1912-13 Milhaud set the verses to music. In 1917, Claudel was made French Ambassador to Brazil and took Milhaud with him as Secretary to the Embassy. "We passed two years in this marvellous Country," writes Milhaud, "in contact with the great tropical forest. It was during this time that we thought out our ballet 'L'Homme et

* 'Etudes" a series of short articles by Milhaud, 1927.

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& £&6np6>n Sfaeet son Desir/ the Ballet Russe giving a performance at Rio; those were the last nights of Nijirrsky's career as dancer; it had been with Nijinsky in mind that Claudel had written his classic poem. Few works gave us such joy to prepare." Claudel had translated the tragedies of Aeschylus, and Milhaud threw himself with equal eagerness into music to accompany the dark tragic scenes, the horror and frenzy, the tensity of the ancient drama. "Agamemnon" was the first of the music dramas which these two artists did together — "Les Choephores" and "Les Eumenides" followed, and likewise "Protee." The music which Milhaud wrote while in Brazil was by no means all serious. The dance rhythms of the country appealed to him and came forth in the "Saudades do Brazil" He was much taken by the jazz idiom and used it in his ballet "La Creation du Monde/'* with its negroid subject and in "Caramel Mow. shimmy." This was for piano, as were his "3 Rag Caprices." In 1919, the two artist-diplomats returned to France. Milhaud associated with a group of young composers who had come under the beneficent and encouraging eye of Erik Satie and the wit and

* Milhaud has written of this ballet : "Using a jazz orchestra somewhat enlarged, I have treated the jazz-band in the instrumental fashion of a Symphonie Concertante."

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[591 ] charm of Jean Cocteau. The association was natural in that all of them were moved to a post-war rebellion against musical custom. By acting in a group as the "Societe des noueaux jeunes" they were able to show their wares in a joint concert. Their names were also joined in a little album of six pieces with a contribution from each. Thereupon there appeared in Comcedia on January 16, 1920, an article by Henri Collet entitled "Les Cinq Russes et Les Six Frangais." Collet heralded the six proteges of Cocteau (Milhaud, Honegger, Tailleferre, Poulenc, Durey, Auric) as "an inseparable group who by a magnificent and voluntary return to simplicity have brought about a renaissance of French music." The "Groupe des Six," thus officially banded without having been consulted, found themselves a notorious topic of Paris. It was of little avail for Milhaud to protest, as he did later, that his friendship for the other five, his admiration for their courage and skill in the paths they had chosen did not imply that, as artists, they could have a single identity. He recoiled in horror at the thought that his friends could ever have pooled their artistic beliefs in a sort of "club with laws and statutes."* Milhaud was singled out as the

* In 1939, the "Six" re-assembled to give a radio concert in Paris to celebrate their twentieth anniversary. Asked in a radio interview in New York on August 4 last as to the present whereabouts of the group, Milhaud said : "Honegger is in Switzerland. Auric and Germaine Tailleferre are in the south of France. Poulence was in Bordeaux at the time of the Armistice, but I have heard nothing from him or Durey since then."

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[593] most daring of the "Six" He had written the score for a pantomime of Cocteau entitled "Le Bceuf sur le Toit, ou The Nothing Doing Bar/' which shows an American speakeasy and a policeman served with milk, beheaded with an electric fan, and restored so that he could pay his bill. The composer who combined jazz or tango rhythms with harmonic innovations was taken as a "bluffeur audacieux," — an imposter, a "blagueur un peu vulgaire," riding to undeserved fame on a wave of sensationalism. This was the day of the ''futurists" and "cubists," when innovation was a subject for suspicion, raillery, or hot dispute, but seldom for quiet and dispassionate consideration. It mattered little that Milhaud was essentially a serious composer, who had devoted years to the setting of Aeschylus; who had written chamber music of sober intention; who had brought forth such song cycles as the dark and soul-searching "Poemes Juifs" and the bitterly cynical "Soirees de Petrograd" Milhaud continued to follow his many paths, writing operas, ballets, music for piano, for voice, chamber compositions. The ballets "Salade" and "Le Train Bleu" were shortly followed by the operas "Les

Malheur s d'Orphee" (1924) ; "Esther de Carpentras" (1924-25) ; "Le Pauvre Matelot" (1926); three little chamber operas (^'operas min- utes") — "L'Enlevement d'Europe" "L'Abandon d'Ariane" and "La

Delivrance de Thesee" (1927) ; "Christophe Colomb" (text by Claudel,

1928) ; "Maximilien" (1930) ; "UAnnonce fait a Marie" (incidental music for Claudel's play, 1934) ; "Medee (text by Madeleine Milhaud) (1938).

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[594] [595] .

Milhaud's Second Orchestral Suite was the first of his works to be performed by the Boston Symphony Orchestra — April 22, 1921. He visited Boston as pianist and lecturer in the season of 1922-23. He appeared as pianist with this Orchestra when, on December 17, 1926, "Le Carnaval d'Aix," drawn from the ballet "Salade," was performed. He composed a Suite for Violin and Orchestra in 1942. His "Suite Frangaise" originally written for band, and so performed in 1945, was later orchestrated. "Le Bal Martiniquais" he first wrote for piano after the liberation of the French West Indies in 1943, and also later orchestrated. His "Suite Symphonique" is derived from his incidental music to "Protee." "Le Cortege Funebre" composed at Aix-en-Provence in the fatal month of May, 1940, was performed by the Boston Sym- phony Orchestra, December 20, 1940. The composer then conducted this as well as his Fantaisie pastorale, for Piano and Orchestra (Stell

Andersen, soloist) , and his "Suite Provencale." His "Saudades do Brazil" were performed at these concerts under the direction of Richard Burgin, December 28, 1945. A Concerto for Flute, Violin, and Orchestra was composed in 1939, a Second Piano Concerto in 1941. He has made an orchestration of an Overture and Allegro by Couperin (1940) M. Milhaud composed his First Symphony at Aix-en-Provence near

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[597] the end of 1939. It was dedicated to, and first performed by the Chi- cago Orchestra, October 17, 1940. This is not, strictly speaking, his first symphony, since in the years 1917-22 he wrote five symphonies for chamber orchestra, which in length as well as in instrumentation might be called "symphonies in miniature."

M. Milhaud is at present teaching in the department of music in Mills College, at Oakland, California. During his years in California, M. Milhaud has composed a con- siderable amount of music. This includes, besides the works mentioned above, the opera "Bolivar," and a number of orchestral works: Intro- duction and Allegro (after Couperin) , "Fanfare for Liberty," "Abel

and Cain" (with recitation), Opus Americanum No. 2, "Jeux de

Printemps/' "The Bells" (Ballet) , two Marches, "Six Danses," and the Second and Third Symphonies. He has written additional concertos for the following solo instruments with orchestra: two pianos,

clarinet, 'cello, violin. In chamber music he has completed his thir- teenth string quartet and written sonatas for viola and piano, and

harpsichord and violin. There is a Sonatine and a Duo, each for two violins, a string Trio, and a Sonatine for Violin and Viola. There are

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[599] also shorter pieces for piano solo, violin or 'cello and piano, organ, groups of songs, and six Sonnets for mixed chorus. Mr. Aaron Copland, in a penetrating and sympathetic summation ("The Lyricism of Milhaud" in Modern Music — February 1929) began by putting on record his high opinion of Milhaud — "no other living composer is less well understood (at any rate, none whose work has gained recognition and performance to the same extent) "; he added, "Milhaud has proved himself the most important figure among the younger Frenchmen." Mr. Copland writes in the same article: "Milhaud's most characteristic trait is a tender, naive and all-pervading charm. To sense it to the full inevitably means that one has come under the spell of the composer. With a quietly moving diatonic melody and a few thick-sounding harmonies, he creates a kind of charmed atmosphere entirely without impressionistic con- notation. When it is darkly colored it becomes the expression of a profound nostalgia — a nostalgia which has nothing of pessimism in it and almost no yearning, but a deep sense of the tragedy of all life. Since this nostalgia is shared by none of his French confreres, I take it to be a sign of Milhaud's Jewish blood. His subjectivism, his violence, and his strong sense of logic as displayed in his use of polytonality) , are indications that the Jewish spirit is still alive in him." Scotch Tweeds

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[601] SYMPHONY NO. 2 By Darius Milhaud

Born in Aix-en-Provence, September 4, 1892

Darius Milhaud completed his Second Symphony, according to a notation on the manuscript score, at Mills College, November 7, 1944. He composed it by com- mission of the Koussevitzky Music Foundation and has dedicated it to the memory of Mme. Natalie Koussevitzky. The orchestration calls for two flutes and piccolo, two oboes and English horn, two clarinets and bass clarinet, E-flat saxophone, two bassoons and contra-bassoon, four horns, three trumpets, three trombones and tuba, timpani, percussion, harp, and strings. The First Symphony by M. Milhaud was composed in 1940 for the fiftieth anniversary of the Chicago Symphony Orchestra. A Third

Symphony (with chorus) is as yet unperformed. The opening movement of the Second Symphony is "quiet and peaceful," according to the composer's own characterization. It is orthodox in structure, with development and reprise. The piccolo and flute immediately set forth the principal theme over a gentle accom- paniment. Another theme, heard from the trumpet and the fuller

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[6oS ] orchestra, is more robust in character, but the original theme return- ing in the flute and English horn in turn brings this movement to a

pianissimo ending. The second movement, Mysterieux, is, again to use the words of the composer, "like a scherzo, but not really a scherzo." This movement hovers for the most part in the high range of the orchestra, probing the harmonics of the violins and trilled notes from the flutes or muted trumpets. The oboe has the principal burden of the melody. Of the third movement, Douloureux, M. Milhaud writes that it is "very expressive and of a sad and dramatic mood." The English horn lends its characteristic color to the greater part of the movement. The melancholy mood gathers tension and finally brings a climax in triple forte. The symphony, hitherto placid in its course, here reaches its first outright dynamic strength. The fourth movement restores the serenity, although its tempo (in 6/8 rhythm) is more rapid. Again the composer seeks the color of the flutes. There is a brief tension and a lapse into the former serenity, with a long saxophone solo. The final movement (Allelouia) is simply a fugue on a hymnlike subject, first stated by the whole orchestra. The subject, with our entrances, is then set forth by the strings. The winds enter the fugal development, and the entire orchestra brings the symphony to an exultant close.

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He is teaching at Mills College now, out in Oakland, Calif. My introduction to him took place six years ago in Vichy. Those were the days before Franco-German collaborationists had taken over a delightful spa. The only hint of what was to come lay in "Jeunesse Franchise" posters, violent in tone, displayed in the windows of empty shops. And we all drank tea at the golf club across the River Allier with Richard Strauss, who was visiting the resort. The late Albert Roussel was there, too, along with Jacques Ibert, Kurt Atterburg, Peder Gram and other noted musicians, attending an international congress of composers. As Milhaud and his smart-looking

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[609J blonde wife, Madeleine, sat at the tea table near the stream, which was honeycombed with fish nets, they spoke of the United States, of their travels here and of their intimacy with the English language. When next I saw them — aside from brief glimpses at the Stadium and Carnegie Hall — they were in residence at Oakland's Mills College in a charming little house on the hill. That was last summer. For those who are unfamiliar with the surroundings of San Francisco, Oak- land is the local Brooklyn, without the charm or traditions of our own neighboring borough. Yet Mills College is a cultural oasis there and fosters a definite intellectual life. • Again the occasion of our meeting was a meal — lunch, this time. In the serenity of the Milhaud household — a serenity which had been achieved only at the cost of a harrowing and heart-breaking flight from France — the composer and his wife entertained three young American composers, Donald Fuller, Charles Jones and Jean Middle-

ton; their own son, Daniel, who, at the age of twelve, is a roaring bass- barytone; and myself. The talk hinged on composition and the growth of American talents. And I saw that the whole direction of Milhaud's career had turned from one of free play to an active and stimulating contact with students. He is now a powerful force, aside from his own achievements in the field of creative music, in our universities. And

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[610] C6»] he, along with a few others, is doing much to remove the monotony and drabness which often attach themselves, with justice, to the phrase "music education."

Milhaud wants to write another opera. This is a medium for which he is better known abroad than in our country. The idea of a subject about California history or legend attracts him particularly, and he is spending most of his free time in the library at Mills College trying to find an appropriate idea for a libretto. Concertos and opera are his chief creative obsessions at the moment. All of the remainder of his time and effort is given over to teaching at the college. Already, after the short space of two years in actual residence here, Milhaud has grown roots into our soil. With the help of the music department at Mills, he is contributing to the development of suburban Oakland. Slack suits, pink terraces and yellow buses to San Francisco are yielding ground, in the minds of the college residents, to healthy and well made music of the kind that Milhaud writes and fosters. We are supporting an excellent influence. 4^

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MANUEL DE FALLA

November 23, 1876-November 14, 1946

It is difficult to imagine a figure more Spanish in type than this slight man, thin and alert, whose face seems delicately sculptured in wood; not an atom of fat under the skin of this animated visage; eyes of flame that reveal the intense emotion burning within. Manuel

de Falla is the incarnation of passion, enthusiasm, imagination, although an iron will disciplines his emotions."

So Henry Y. Prunieres has written (New York Times, April 8, 1928) Gilbert Chase in his "The" Music of Spain" (W. W. Norton, 1941) enlarges upon this word portrait: "As the man, so the music. Not a superfluous note, not an ounce of padding, in the finely wrought, mus- cular texture of his scores. The sinews of his art are tense, yet flexible; they pass from meditative repose to dynamic action with dramatic rapidity. His creative reflexes respond with sensitive alertness to every

emotional impact, yet the process of musical transmutation is achieved with the most painstaking care, with a ceaseless, disciplined striving for perfection. "Albeniz and Granados were masters of the piano. With Falla,

Spanish music finds complete orchestral utterance. This is an orchestra

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[615] that has exactly the right speech for every emotion, for every imagina- tive flight, for every situation, from the spectral apparition of a Gypsy lover to the clumsy gait of a foolish Corregidor, from the perfumed intoxication of Andalusian nights to the mad chivalry of Don Quixote. This orchestra has all the raciness of a guitar in the hands of an Andaluz, together with the subtle distinction of a Ravel or a Debussy.

The music of Manuel de Falla is the true cante hondo of Spain — the deep song welling up from an immemorial past through the heart and mind of an artist who embodies the finest qualities of his race."

Still another writer, W. R. Anderson, contributed an article "The

Art of Manuel de Falla," to "The Listener," October 17, 1940: "One of the happiest interludes of thought and feeling during the Twaddling Twenties was the production here in 1921 of Manuel de Falla's 'Nights in the Gardens of Spain.' In those musically feeble early post-war days it was heartening to be able to expect, from Falla's previous work, something good, after 'La vida breve,' and the opera- ballet of gypsy love and witchcraft, 'El amor brujo' ; especially re- membering how, only two years before, London, both fashionable and musical, had delighted in the sharp-edged wit of the Russian Ballet's 'Three-Cornered Hat.' "We were not quite prepared for the reticence of these nocturnes,

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[6i 7 ] having been spoiled by too many luscious tone-poems, from Liszt's down to Respighi's overripe fruits, as well as by so many foreigners' assaults upon Spanish dance rhythms of the more obvious sort. Some of them had worked wonderfully well in a limited field (as did Bizet

in 'Carmen') ; others like Saint-Saens, had merely brought back coloured travelogues for their magic-lanterns. "Foreign influence, however, played beneficently upon Falla himself. For several years before the Great War he lived in Paris, among the chief Impressionists and their offshoots — Debussy, Ravel, and the rest. These two leaders, in their very different ways, had been fascinated by Spanish idioms, and there was some very valuable cross-pollination between them and their visitor, then just over thirty. Falla had something in common with both — something, in a strikingly personal trans- lation, of Ravel's classical penetration (though Falla never chisels as

coldly as I think Ravel does) . There is, too, Ravel's economy of statement, one of the finest of aristocratic qualities in art. Grace is common to all; and in Falla is a slightly detached purity which need not set him apart from any listener's sympathy, as sometimes Ravel is set apart. "To an intense interest in the earnest nineteenth-century insistence of Eximeno and Falla's own master Pedrell that Spain's folk-art should

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[618] be the basis of her composer's work, Falla brought a finer sense of selection and a philosophy, the lack of which has ever been the greatest weakness of propagandists, who feel more readily than they think, and, trying to live and feed others by bread alone, seldom leaven their good works with mysticism or even imagination. "The late Pedro Morales, poet and musician, discussing the nature of his countrymen, remarked that their tendency to proceed from the abstract to the concrete made their art a little difficult for our North- ern mind, whose trend is, broadly speaking, the opposite way. 'The

Spaniard is a dramatist and a painter by temperament. . . . Not only the prosaic mysticism of Teresa de Jesus, but the mysticism of that

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r*9] most supreme and sublime artist, the Andalusian Apostle San Juan de la Cruz, shows the tendency of the Spanish mind to materialise or visualise the most abstract ideas.' Hence such artists are more vividly moved by things seen, heard or otherwise experienced: they visualise a scene, and produce symphonic poems, opera, ballets and songs, rather than symphonies and chamber music. "Falla, himself half Andalusian and (from his mother) half Catalan, may be reckoned as combining typically regional qualities of fancy and form; but his mysticism, which seeks the evocation in music of the soul as well as the scenery of his land, is his own, though it may have been stimulated by one of the strong influences upon Spanish music, that of ancient ecclesiastical chant and its 'modes.' The cante

Hondo (in later times gipsyfied into cante flamenco) is another vital force; but mere reproduction of folk characteristics is not Falla's choice; nor can it be that of any composer of the finest taste. "From even a few casual words may shine out a composer's spirit; here is Falla speaking to a French interviewer in 1925: 'Every year I take a "solitude cure" in a little Andalusian village, speaking to nobody for ten or twelve days. Thus I prepare for work. . . . Social life becomes increasingly elaborate: that is why the artist must go apart.

... As to music, you must live it. . . . Music is the youngest art. In two or three centuries we shall reckon we have just begun to practise it. . . . The essentials are in the people. I do not like taking actual folk-material; but you must go to natural, living sources, study the

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[621] sounds, the rhythms, use their essence, not just their externals. You must go really deep, so as not to make any sort of caricature. In Spain every region has its own essential music. The gypsies have in theirs some Hindu roots. ... I am a believer in the fine social utility of music: you mustn't use it selfishly, but for the benefit of others. But to work for the public without making weakening concessions is a problem that is constantly in my mind. One has to try to be worthy of his inborn ideal, and express it, in expressing himself. It is an ore one has to dig out, sometimes with enormous labour; and in the end you must hide all the effort, and make it seem like a perfectly poised " improvisation, using the simplest, surest means.'

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5010 KENmore 5010 Between Milk and Franklin Sts. HUB. 2296 "EL AMOR BRUJO" ("Love the Sorcerer"), Ballet-Pantomime By Manuel de Falla

Born at Cadiz, Spain, November 23, 1876; died at Alta Gracia, Argentina, November 14, 1946

Falla gave his ballet the subtitle, "Gitaneria" (Gypsy Life) . The plot was fur- nished by Gregorio Martinez Sierra.* The ballet, in one act and two scenes, written for small orchestra with voice, was first produced at the Teatro de Lara, Madrid,

April 15, 1915. A concert version, with some omissions and a larger orchestration, was performed at Madrid in 1916 by the Sociedad National de Musica, E. Fer- nandez-Arbos, conductor. The suite was performed in London, November 23, 1921, and in Paris under the direction of Serge Koussevitzky, May 8, 1924. The first

American performance was by the Philadelphia Orchestra, April 15, 1922. Dr. Koussevitzky introduced the suite to Boston at his second pair of concerts in

America, October 17, 1924. The suite has since been performed at these concerts on October 14, 1927, January 23, 1931 (E. F.-Arbos conducting) , and April 20, 1934. The orchestral score calls for two flutes and piccolo, oboe, two clarinets, bassoon, two horns, two trumpets, timpani, bells, piano, and strings. A mezzo-soprano voice behind the scenes in the ballet is retained in the suite, but the part is re- placeable, as in this performance, by the horn and English horn.

Whether "Brujo" is translated as "Sorcerer" or "Magician," an English title falls short of the French "L'Amour sorrier" in con- veying the central idea of the Andalusian gypsy story. The plot tells

* Sierra's plays, "A Romantic Young Lady," "Cradle Song," and "The Kingdom of God,'* have been performed in Boston. ARRARD GARRARD GARRARD costs a bit more because it's the finest kiku

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[624] of a lover who, after his death, returns as a jealous ghost to haunt his sweetheart when she is wooed again.

This synopsis is printed in the score:

"Candelas is a young, very beautiful and passionate woman who has loved a wicked, jealous, dissolute, but fascinating and cajoling gypsy. Although her life with him had been a very unhappy one, she has loved him intensely, and mourned his loss. She is unable to forget him; her memory of him is like some hypnotic dream, a morbid, gruesome, and maddening spell. She is terrified by the thought that the dead may not be entirely gone, that he may return, that he continues to love her in his fierce, shadowy, faithless, caressing way. She lets herself become a prey to her thoughts of the past, as if under the influence of a spectre. Yet she is young, strong and vivacious. "Spring returns- and with it love in the shape of Carmelo. Carmelo, a handsome youth, enamoured and gallant, makes love to her. She, not unwilling to be won, almost unconsciously returns his love, but the obsession of her past weighs against her present inclination. When Carmelo approaches her and endeavours to make her share in his passion, the Spectre returns, and terrifies Candelas, separating her from her lover. They cannot exchange the kiss of perfect love. "Carmelo being gone, Candelas languishes and droops; she feels as if bewitched, and her past loves seem to flutter heavily round her like marvelous and foreboding bats. Carmelo is determined to break this evil spell, and he believes he has found a remedy. He was once the

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[625] comrade of the dead lover, whom he knew as a typically faithless and jealous Andalusian gallant. Since he appears to retain, even after death, his fancy for beautiful women, he must be taken on his weak side and diverted by means of a decoy, Lucia, a young and enchantingly pretty girl. "Lucia, out of love for Candelas and from feminine curiosity, would flirt even with a ghost, and anyway the dead was so mirthful in life! And so eventually the Spectre appears and makes love to Lucia, whose coquetry almost brings him to despair. In the meantime, Carmelo succeeds in convincing Candelas of his love and good faith, and life triumphs over death and over the past. The lovers at last exchange the kiss that defeats the evil influence of the Spectre, who perishes, definitely conquered by love." A statement published when "El Amor Brujo" first appeared made it known that "the composer, whose feeling for and command of his country's folk-music are well-known, saw that it would be impossible to write true gypsy music by restricting himself to instrumental dances alone, and without resorting to the gypsies' most characteristic feature: their songs. But he has by no means used actual folk-melodies: every song is his own invention, and it is his particular glory that he has succeeded in making it almost impossible to believe that they are not actual popular material." In his invaluable study of "Manuel de Falla and Spanish Music"

J. B. Trend speaks highly of the effectiveness of the ballet, which he considers cannot be conveyed in anything less than a danced performance. "When the rhythms can be seen as well as heard and when they

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[626] take plastic shape before our eyes, we realize what a masterpiece the work is." "The composer has kept the stage in his mind from beginning to end. Not only the rhythms, but the shapes of the phrases are all thought of in terms of the dance; and when these are interpreted by the greatest living Spanish dancer, the invisible movement of the music and the visible motions of the dance seem to be all one; the dance is a consequence of the music. This unity is preserved in the performances given by 'La Argentina.'* A rehearsal by her is a marvellous object-lesson in how such a thing should be done. Given the music with the proper tempi and the rhythms as the composer directs, La Argentina takes charge of all the rest. She knows exactly what she wants and how to get: it. Not a detail escapes her. Every movement of her small corps-de-ballet, every effect of lighting, must be tried again and again until it is perfect. One of the dancers, for instance, may not be Spanish and may not move a certain portion of her anatomy exactly as a Spanish dancer would move it. She must go on trying until she does so. The lighting may not be up-to-date, even in Paris; La Argentina finds out exactly what can be done with the means at hand and then insists that it shall be done, every time, at exactly

* "La Argentina" included the "Ritual Fire Dance" from "El Amor Brujo" at her performances in Symphony Hall, November 27, 1928, and November 23, 1929. She performed the "Dance of Terror" October 21, 1930. The ballet was performed by Leo Wiener and his trroup at a "Pop" concert in Symphony Hall, May 14, 1934.

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[627] the right instant. The ghost must appear as if from nowhere. A moment ago he was not there. Three signing chords for strings, followed by an agitated phrase for muted trumpet, and there he stands — with a green, phosphorescent light on his unshaven chin, as if he had just come out of his grave and had brought his own glowworms with him. There must be no suggestion of his 'walking on' and being picked up afterwards by a green spotlight. These things must happen as if by magic — they must happen, that is, by music. Everybody concerned in the performance must make his or her own particular movements with the musicianship and inevitability of a trained dancer. Then we get a performance second to none and realize that, between them, Falla and La Argentina have created one of the greatest masterpieces of modern times." Mr. Trend calls this "Falla's greatest triumph in the purely Spanish manner; it is music which anyone could recognize immediately as being Spanish, because of the Andaluz 'idiom' in which it is written. Critics, from the first, have classified it as folk or 'nationalistic' music. I have the best authority — the composer's own — for stating that there is not a single folk-tune in it, anywhere, from beginning to end. The

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[628] rhythms of Andalusian dance were running in his head, but there are no quotations. . . . The importance of the rhythm has already been pointed out. It is not that Falla depends on the purely physical or nervous appeal of repeated rhythmic figures. He alternates and con- trasts varied rhythms, makes counterpoints of them, and plays off one against the other. But the difficulty which some conductors experience

is to make the rhythms articulate. It is a question not of pace, but of clearness. Falla takes endless pains to mark everything and leave nothing to chance; and his interpreters have to distinguish clearly between the effects of notes marked > and those with only — . His music requires, too, as a rule, a definite accent on the first beat of the bar. Anyone who is at all intimately concerned with the production or rehearsal of one of these works will find himself going about, grunting the rhythms not altogether inaudibly, much as Beethoven is said to have done when he went for a country walk. It is as near the mind of Beethoven, perhaps, as any of us are ever likely to get."

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[629] "NIGHTS IN THE GARDENS OF SPAIN," Symphonic Impressions for Pianoforte and Orchestra

By Manuel de Falla

Born at Cadiz, Spain, November 23, 1876; died at Alta Gracia, Argentina, November 14, 1946

"Noches en los Jardines de Espana: 1) En el Generalife*; 2) Danza lejana; 3) En los Jardines de la Sierra de Cordoba*' were composed between the years 1909 and 1916. The first performance was at the Teatro Real de Madrid by the Orquesta Sinfonica in April, 1916, when Enrique Fernandez-Arbos conducted and M. Cubiles was the pianist. The first performance by the Boston Symphony Orchestra was on March 28, 1924, when Pierre Monteux was conductor, and Heinrich Gebhard the pianist. It was performed February 21, 1930, under Serge Koussevitzky, Jesus Maria Sanroma, pianist. The orchestral score calls for two flutes and piccolo, two oboes and English horn, two clarinets, two bassoons, four horns, two trumpets, three trombones and tuba,

timpani, celesta, triangle, cymbals, harp, and strings. It is dedicated to Ricardo Vines, a Spanish pianist.

This production of Manuel de Falla's sojourn in Paris, naturally reflecting in some degree his musical surroundings, was long with-

held by its composer for repolishing. G. Jean-Aubry watched its prog-

* Generalife — Jennatu-l'arif, "the garden of the architect," is near Granada. Isma'il-ibn- Faraj, the Sultan, purchased the site in 1320. The mountain villa, in the forties of the last

century, belonged to the Marquis of Campotejar, of the Grimaldi Gentili family ; "a villa of waters." — Philip Hale.

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[630] ress and remarked: "He was never satisfied. Each season we waited in vain for the first performance. These 'Nocturnes' began to be legendary in the Parisian musical world, as did the 'Polichinelles' of Henri Becque about 1902." De Falla has written about this music: "If these 'symphonic impressions' have achieved their object, the mere enumeration of their titles should be a sufficient guide to the hearer. Although in this work — as in all which have a legitimate claim to be considered as music — the composer has followed a definite design, regarding tonal, rhythmical, and thematic material . . . the end for which it was written is no other than to evoke [the memory of] places, sensations, and senti- ments. The themes employed are based (as in much of the composer's earlier work) on the rhythms, modes, cadences, and ornamental figures which distinguish the popular music of Andalucia, though they are rarely used in their original forms; and the orchestration fre- quently employs, and employs in a conventional manner, certain effects peculiar to the popular instruments used in those parts of Spain. The music has no pretensions to being descriptive: it is merely expressive. But something more than the sounds of festivals and dances has inspired these 'evocations in sound,' for melancholy and mystery have their part also."

Duncanbury Concert Series

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[631] Yet the "Noches" has often provoked description. Perhaps nothing more apt has appeared than the following paragraphs by W. R. Anderson in "The Listener," October 17, 1940:

"The 'Noches en los jardines de Espana' are a happy blend of impressionistic evocation and re-creation of the popular soul of Spain as Falla knew it in 1916. In them the piano is cleverly used as an orchestral member, not a solo instrument; and though the guitar is absent, its influence, one much cherished by the composer, pervades much of his writing. Having heard the virtuoso Segovia, we can understand its suggestive quality, in using intervals unfamiliar to the West, and the high flourishes and ornamentation of the native song of Southern Spain. "We hear the first nocturne 'In the Generalife' — the hill garden at Grenada with its fountains and ancient cypresses contemplating the city below. We come upon the music as if eavesdropping, with an impression of its being the immemorial, meet companion of trees and waters. In the influence of the night, the fountains, dreamy patios, melancholy thickets and flowering pomegranates in the summer palace of the Moorish sultan, we can feel a sense of mystery and ghosts of the past. Here under a six-century-old cypress was perhaps the trysting place of the sultana and Hamet, head of the noblest family of the kingdom: a tryst which, like that of Tristan and Isolde, was to cost the

life of the king's trusted courier. Here . . . "But the hazy sound of the orchestral horn ceases, and we move in imagination to another garden, for the second nocturne, the 'Dance in the Distance.' About us again are the orange trees, the myrtles and the palms, the plashing waters. Mandolines and guitars play scraps of oriental-sounding tunes, coming nearer in gentle wafts of tone now upborne, now falling, on the light breeze. "In the last piece we are 'In the Gardens of the Sierra at Cordova,' on the mountainside, at a party where surely the gypsies are playing, singing and dancing. Here is music wilder, rougher than before, still more deeply rooted in the East, in impassioned feeling and primitive power. We may well feel like the sleeper awakened, in the 'Arabian Nights,' for we seem to hear and see with senses other than our own, while yet we know we do not merely dream. Falla's circumvention of time and space brings us directly into touch with the strange beauties, quietly but deeply moving, of the finest romantic explorations of our day."

UNUSED TICKETS Those who at any time are unable to use their seats for a Boston Symphony concert can confer a double favor by allowing them to be resold. You would oblige those who are disappointed at every concert in their efforts to obtain tickets. You would help decrease the deficit of the Orchestra for the present season. Resale of tickets has in the past brought the Orchestra as much as $6000 in a single year. Leave the tickets at the box office, or telephone Common- wealth 1492 and simply give the seat location and date.

[632] LUISE VOSGERCHIAN

Luise Vosgerchian is a Bostonian by birth and residence. She studied j piano with Mme. Gladys Ondricek and composition with Nadia Boulanger and Nicolas Slonimsky. She appeared as pianist with the New York Philharmonic-Symphony Society at a Young People's Con- cert in her own orchestral sketch entitled "Window Shopping," March 28, 1942. She has made several appearances with the Boston Pops Orchestra under the direction of Arthur Fiedler. Last season she toured extensively with Ruth Posselt, violinist, in Middle Western and

Southern states. She is preparing to give recitals in the present season in Town Hall, New York, and Jordan Hall, Boston.

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[ 633 1 .

THREE DANCES from the Ballet "The Three-Cornered Hat" By Manuel de Falla

Born at Cadiz, Spain, November 23, 1876; died at Alta Gracia, Argentina, November 14, 1946

The ballet "El Sombrero de tres Picos" was first performed in its version for full orchestra by the Ballet Russe of Serge de Diaghilev, at the Alhambra Theatre in London, July 22, 1919. The scenario was by Martinez Sierra, the scenery and costumes by Pablo Picasso. Leonide Massine and Thamar Karsavina danced the Miller and his wife. Ernest Ansermet was the conductor. The Ballet was introduced to Boston by the Ballet Russe de Monte Carlo, October 29, 1935, with Massine as the Miller, Toumanova as his wife. The suite, which forms the larger part of this ballet, had its first American hearing in concert form when Pierre Monteux introduced it at the concerts of this Orchestra December 30, 1921. The dances have since been performed at these con-

certs March 5, 1926, January 18, 1929, January 31, 1930, December 1, 1933, and November 29, 1940 (Desire Defauw conducting) The orchestration includes two flutes and piccolo, two oboes and English horn, two clarinets, two bassoons, four horns, two trumpets, three trombones and tuba, timpani, side drum, bass drum and cymbals, triangle, xylophone, tam-tam, casta- nets, celesta, harp, piano and strings.

Visiting Spain with his ballet, the enterprising Diaghilev became interested in the music of Falla, and commissioned from him a

ballet on the subject of Alarcon's novel "El Sombrero de tres Picos."*

* It was the legendary story of Spain which Alarcon had made known to the reading world under its original title "El Corregidor y la Molinera" ("The Corregidor and the

Miller's Wife" ) . It appeared in 1874 and, translated into several languages, resulted in several operas, notably "Der Corregidor," by Hugo Wolf.

[634] !

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[635] The principal pupil of Falla, Joaquin Turina, has stated that his master first wrote the piece for an orchestra of seventeen instruments under the title "El Corregidor y la Molinera" and that it was first performed as a "pantomime" at the Eslava Theatre in Madrid in 1917. The following synopsis of the ballet was published in the London

Daily Telegraph (July 24, 1919) :

"Over the whole brisk action is the spirit of frivolous comedy of a kind by no means common only to Spain of the eighteenth century. A young miller and his wife are the protagonists, and if their exist- ence be idyllic in theory, it is extraordinarily strenuous in practice — choreographically. But that is only another way of saying that M. Massine and Madame Karsavina, who enact the couple, are hardly ever off the stage, and that both of them work with an energy and exuberance that almost leave one breathless at moments. The miller and his wife between them, however, would scarcely suffice even for a slender ballet plot. So we have as well an amorous Corregidor (or

Governor) , who orders the miller's arrest so that the way may be cleared for a pleasant little flirtation — if nothing more serious — with the captivating wife. Behold the latter fooling him with a seductive dance, and then evading her admirer with such agility that, in his pursuit of her, he tumbles over a bridge into the mill-stream. But, as this is comedy, and not melodrama, the would-be lover experiences nothing worse than a wetting, and the laugh, which is turned against him, is renewed when, having taken off some of his clothes to dry them, and gone to rest on the miller's bed, his presence is discovered by the miller himself, who, in revenge, goes off in the intruder's gar- ments after scratching a message on the wall to the effect that Tour wife is no less beautiful than mine!' Thereafter a 'gallimaufry of gambols' and — curtain!"

"There is a delightful Voltairian feeling about the whole ballet," writes J. B. Trend in his "Manuel de Falla and Spanish Music," "and, considering only the music, it exhibits Falla's characteristics in the clearest possible way. There are 'the short, unsentimental snatches of melody, clear in design and precise in expression, with sinuous out- lines and ingratiating movements . . . the exquisite sense of harmony, not greatly varied perhaps, but always attractive; and in this, too,

clearness is one of his greatest gifts. His harmonies also are strictly

tonal, although often adorned with iridescent appoggiaturas. . . .

And, lastly, there is his sense of rhythm, which is perhaps the most

interesting aspect of his art. It is extraordinarily restless and vivacious; a continual pulsation which never languishes.* The ballet in its finally revised form might be regarded as Falla's contribution to the

music of the Armistice. In that case it is the one really worthy piece of music which that historic event produced."

* Castelnuovo-Tedesco, "II Pianoforte.

[636] ;

VICTOR RED SEAL RECORDS Boston Symphony Orchestra SERGE KOUSSEVITZKY, Conductor

Bach, C. P. B Concerto for Orchestra in D major

Bach, J. S Brandenburg Concertos Nos. 3 and 4

Beethoven Symphonies Nos. 2 and 8 ; Missa Solemnis Berlioz Symphony, "Harold in Italy" (Primrose) Three Pieces, "Damnation of Faust", Overture, "The Roman Carnival" Brahms Symphonies Nos. 3, 4 Violin Concerto (Heifetz) Copland "El Sal6n Mexico," "Appalachian Spring" Debussy "La Mer," Sarabande

Faure "Pelleas et Melisande," Suite Foote Suite for Strings Grieg "The Last Spring" Handel Larghetto (Concerto No. 12), Air from "Semele" (Dorothy Maynor) Harris Symphony No. 3

Haydn Symphonies Nos. 94 ("Surprise") ; 102 (B-flat) Liadov "The Enchanted Lake" Liszt Mephisto Waltz Mendelssohn Symphony No. 4 ("Italian") Moussorgsky "Pictures at an Exhibition" Prelude to "Khovanstchina"

Mozart Symphonies in A major (201) ; C major (338), Air of Pamina, from "The Magic Flute" (Dorothy Maynor)

Prokofleff Classical Symphony ; Violin Concerto No. 2 (Heifetz)

"Lieutenant Kije," Suite ; "Love for Three Oranges,"

Scherzo and March ; "Peter and the Wolf"

Rachmaninoff .„ r Isle of the Dead" ; "Vocalise" Ravel "Daphnls and Chlo6," Suite No. 2 (new recording)

Rimsky-Korsakov "The Battle of Kerjenetz" ; Dubinushka

Schubert "Unfinished" Symphony (new recording) ; "Rosa- munde," Ballet Music Schumann Symphony No. 1 ("Spring")

Sibelius Symphonies Nos. 2 and 5 ; "Pohjola's Daughter";

"Tapiola" ; "Maiden with Roses"

Strauss, J Waltzes : "Voices of Spring," "Vienna Blood" Strauss, R "Also Sprach Zarathustra" "Till EulenspiegeFs Merry Pranks"

Stravinsky Capriccio (Sanroma) ; Song of the Volga Barsremen (arrangement) Tchaikovsky Symphonies Nos. 4, 5, 6: Waltz (from String

Serenade) ; Overture "Romeo and Juliet" Thompson "The Testament of Freedom" Vivaldi Concerto Grosso in D minor

[637] . .

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[638] SIXTY-SIXTH SEASON • NINETEEN HUNDRED FORTY-SIX AND FORTY-SEVEN

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FRIDAY AFTERNOON, December 27, at 2:30 o'clock

SATURDAY EVENING, December 28, at 8:30 o'clock

CHARLES MUNCH Conducting

Jaubert Sonata a due

Messiaen Ascension trilogie

Honegger Symphony for Strings

INTERMISSION

Saint-Saens * Symphony No. 3 in C minor (with Organ) Op. 78 Adagio; Allegro moderato; Poco adagio Allegro moderato; Presto; maestoso; allegro

BALDWIN PIANO VICTOR RECORDS

The concerts on Tuesday Evenings will be broadcast (9:30 — 10:30) on the network of the American Broadcasting Company. (The next broadcast will be on January 7.) Scores and information about music on this program may be seen in the Music Room of the Boston Public Library.

[639] MUSICAL INSTRUCTION » FELIX FOX PIANIST

40s MARLBOROUGH STREET Tel. Ken. 0716 WADSWORTH PROVANDIE TEACHER OF SINGING Symphony Chambers 246 Huntington Avenue Boston, Massachusetts

Accredited in the art of singing by Jean de Reszke, Paris, and in mise en scene by Roberto Villani, Milan

Studio : Kenmore 9495 Residence : Maiden 6190

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MARGUERITE J. LaLIBERTE SELMA PELONSKY TEACHER OF SINGING PIANIST - TEACHER Correct Voice Production — Group and individual instruction Defective Singing Corrected STUDIO 28-STEINERT BUILDING 87 Ivy Street, Brookline, Massachusetts 162 Boylston Street, Boston Aspinwall 7750 Phones: Studio — Hub. 1933 Res. Sta. 7370

EDITH THURLOW TEACHER OF PIANOFORTE Steinert Hall Telephone 162 Boylston Street Liberty 2532 Boston

BROOKLINE ACADEMY of MUSIC and ARTS

All instrumental departments are headed by members of the Boston Symphony Orchestra.

1658 Beacon Street, Brookline Aspinwall 8181 Director M. Martin Kostick

[640]